Berimbau wrote:Amigos,
Now we're getting into areas where most posters here seem to have little valuable knowledge to share. Until someone actually cites something beyond bad bar room conjecture (now where in #### do you people drink, for God's sake?) I suggest reading a few PRIMARY texts on this subject:
1.) The Atlantic Slave Trade A Census by Phillip Curtin
2.) The Slave Trade by Hugh Thomas
3.) The African Slave Trade by Basil Davidson
4.) Black Cargoes by Mannix & Cowley
5.) The Trans-Atlantic Slave Trade by James Rawley
6.) Trade Relations between the Bight of Benin and Bahia by Pierre Verger
These are just a few of the better English language texts available from your local library or Amazon. I could go on and on and list some French, Spanish, or Portuguese books as well. Please have at least a VAGUE idea of what you are talking about before posting anymore *&^#$ on the slave trade here. Our music and culture deserve far better than that!!
Saludos,
Berimbau
franc wrote:i need to clarify if this is true or not. in time of the slave trade. the music in the spanish colonies like cuba, p.r and so on was more vibrance and it had more rythmic feelings due to the conquest and influence of spain. the spanish music intruduced the element of improvisation and complex rythmns. the religious festivities gave the slaves oportunities to hear this music. this motivated the religions of the occidental africans and the catholics mixed or came together by a process called'' sincretismo'' i dont know how to traduce that word in spanish. i am not that articuleted in english, sorry!! spain and its language helped in this evolution of our great african music heritage. please am i correct in this accertments. thanks, aché to all :0 franc
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